Wednesday, October 28, 2015

I met Chris Irvin for the first time last year at a writers' retreat, and all you really need to know to understand Chris is that one night while a group of us were walking on a DARK, creepy country road at midnight (these are the types of things that happen on writers' retreats), Chris took his phone out and had it play "Looking for the Magic" from the horror movie You're Next. That's pretty much the type of guy he is. Since then, I've read most of everything Chris has written. Most of his stuff is in the crime genre, but with a clear literary bent to it. His latest release is a great collection of short stories titled SAFE INSIDE THE VIOLENCE. He's also writing comics, novels, and was recently a momentary viral star when this post ended up at the top of Reddit's front page. He's a really good guy, and I was happy when he agreed to let me interview him. Buy his books!

He gets bonus points for having the same haircut as me!

Me:So it’s probably
best if we start off with who you are, but knowing writers can blather on and
on and on about things, I’m giving you exactly 50 words to introduce
yourself.Go!

Chris: I live in Boston with my wife and two sons, though I
grew up in the Midwest. I've written two novellas, and a few dozen short
stories. I don't sleep (much), and spend the wee hours writing. Two comic
miniseries are on submission, and a novel is awaiting a rewrite.

Me: Congratulations on hitting 50 words, exactly.If nothing else, we know you can operate the
Word Count feature in Word, so nice job.

I’ve read FEDERALES, BURN CARDS, and your new collection
SAFE INSIDE THE VIOLENCE, and I gotta tell you, I find it a little irritating
that you’re already this good at such a young-ish age.What’s your writing history?How long have you been at it?What prompted writing for you?

Chris: Well, thank you! Actually, up until recently -
turning the *magic* 30 - when it came to writing my age was a source of
insecurity. I'm accustom to working with others much older than me in the
various jobs I've held - and had zero issues - but when it came to writing it
was different. Maybe seeing the output of those in their 40s/50s/60s who write
full-time, or the notion that some believe one hasn't experienced enough to
write anything of value until their later years. I'm not entirely sure, but I'm
over that now...I think.

BUT back to your questions: I drew a lot when I was young. I'd always wanted to
write - journaled here and there, outlined a book or two. I stumble upon things
occasionally (ex: a gun-filled prohibition-era car chase from 7th grade English
that would probably get me in trouble if I were in school today.) In college I
ran a pen and paper role-playing group with my roommates. I generated most of
the work myself and afterward wrote up the action as quasi-short stories. I
think this is part of what gave me the kick to finally write.

When I moved to Boston in 2009 I decided to give it a shot. I don't recall
exactly what it was (I really wish I did...) but I looked for writing classes
and stumbled upon Grubstreet. I took several night/weekend classes there, a few
with LitReactor, lucked into a wonderful writing group, and kept at it. Right
after my first NECON in 2012 is when I started getting up in the morning to
write before work. It's been a tiring three years, but I'm spurred on by the
passionate community around me. It’s inspiring to have friends who are finding
great success at various stages of their writing career. A nice reminder that
we're all in it for the long haul.

Kurt: Do you remember the first piece you wrote where you
had that “THIS!This is how I want to
write!Finally!” moment?Did it take you long to get there?Or are you one of those obnoxious people who
achieved literary nirvana early on?

Chris: Great question. Yes! I’ll start with mentioning that
I thought I had found my voice when I wrote Federales, and in a way I think I
did, or was on my way there. That’s not to say FEDERALES or any of my other
fiction isn’t “me,” though maybe a snapshot of me at a point in time is more
accurate. My writing can be deeply influenced by what I read, and I’ve read
quite a bit since then (late 2013.)

When I wrote “Imaginary Drugs” and “Digging Deep,” this past
spring I got a strong feeling in my gut that this was it, the kind of story that I wanted to write. All writers
experience highs and lows – the ‘this is amazing’ to ‘what was I thinking?’ – and
no matter how much I second guessed myself, the feeling stuck. They are two of
my favorites in the collection. A story I’m working on now for another project
is in the same vein, so I think I’m onto something.

Kurt: So let’s get into it then, shall we?Because you’ve hit on something that happens
in your stories where I think we have philosophical differences. I usually approach a story to have a
beginning, middle, and end.You, on the
other hand, seem to write snapshots, captured moments in time that are captured,
but don’t tell a complete story.Oftentimes we don’t see the fallout of actions that characters
take.Both “Imaginary Drugs” and
“Digging Deep” do this, as does BURN CARDS, which you know I wanted to beat you
once I finished.This isn’t a dig on
your writing, believe me, and it makes your stories much more literary than
most crime stories, but I guess my question is this--How do you approach a
story philosophically?What are you
trying to accomplish when you sit down to write about a character or situation?

Chris: "Captured moments in time" is a smart way
of describing my short fiction, though I do believe they are complete in that
they leave the reader with a character(s) who has reached the end of their
moment. A failed attempt at fitting in and the loss of innocence in
"Imaginary Drugs." A father with a greater sense of appreciation of
his role in "Digging Deep." I suppose it's very slice of life in a
way, with less focus on a crime and more on the people and the world around
them that are influenced/affected by the crime. Most, if not all of my works
begin with images of small moments that grow into a story as I write. I write
several pages by hand to get a feel for a story - the tone, where it's heading,
etc - this produces a lot of these instants that I'll jot down on the side and
insert later - things even as small as the way two characters look at each
other, or a color or smell. Bursts of inspiration that I don't want to lose.
I'm trying to put the reader in the character's head -- right there in their
world, and I think if I can conclude a story with the reader hanging on the
last sentence, they already know what eventually might come next, but they
don't need to explicitly see it as it's less interesting than what they've
read. A boy comes home from camp with the mixed emotions of a teenager. A man
returns to his wife and daughter with a renewed appreciation of the world
inside his home - where his heart belongs. My favorite stories that have stuck
with me don't conclude - they more or less come in and go out with the tide.
This quiet (sometimes disquieting) drift is often very melancholy.

Kurt:That’s a great
explanation.Have you approached your
novellas and novel with the same philosophy?How does this carry over to your comic writing?And while we’re at it, I suppose you should
explain your comics, too.

Chris:Maybe?
It's difficult to recall. I think pieces of each novella developed with the
above philosophy in mind, though perhaps with less focus, or more
scatterbrained. For example, the first scene of Federales that popped into my
head was when the protagonist, Marcos, is standing in front of a mirror in a
hospital (quite late in the book). I had a good idea of where I wanted to go,
but it would have been too short without flashbacks (which I very much wanted
to avoid). So I ended up working my way back from what became the beginning to
that moment in the hospital and onto the end. There were a lot of small moments
that came about while writing the rest of the book. I typically try not to
think too much and just let it flow.

Comics...I could talk about comics for hours, ha. I'm a very
visual person and I've been a fan of comics since I was little. When readers
pointed out the cinematic/visual elements of my fiction, it pushed me to give
comics a shot.

I think my prose philosophy/style carried over to my first
comic, Expatriate, and the scripts I wrote. It's about an American white collar
criminal who flees the pursuit of law enforcement for Rio de Janeiro. It's a
little more action oriented than my prose writing, but I can see the influence.
You need much more of a beginning/middle/end structure though, especially with
comics running in 4-6 issues arcs these days. I'm much more conscious of pacing
and structure. I outline and layout pages at a very detailed level before I
write a full script. My other comic projects have (generally) tended to include
more fantastical elements and action with a mind for making it fun for an
artist to draw. A story can be excellent, but if it doesn't inspire or excite
your creative partner then it's not going to go well.

Time will tell with the novel. It's due for a major rewrite
this winter.

Kurt: It sounds like you have a lot of plates spinning
currently with short stories, a novel, and comics.Are you naturally this ADD or do you just
multi-task exceptionally well?How do
you handle all of these different types of projects at once without diluting
any of them?

Chris: Naturally ADD without a doubt, ha. I make a lot of
lists and try to focus on one project at a time though. If I don’t then I get
stuck with a dozen different ideas rolling around my head, pulling me in every
direction. For example, I finished the collection in June. Took a few weeks off
and then wrote another short story that was coming due. After that it was a
month of comics. Now I'm back on a short story that's due ASAP before I try and
rewrite a novel before the end of the year. Baby steps…

I think it also stems from a desire to get my mind off
submissions. I can be a constant email checker when it comes to waiting to hear
back on a piece. It's even harder with comics. While there seems to be near
infinite outlets for short stories, there are really only five or six
publishers of creator-owned comics that can be considered anywhere near widely
read. A lot hinges on each pitch. So it helps to keep moving forward, working
on new and exciting projects to keep my mind off what I've already got in the
bag. Hopefully cutting down on the putzing around!

Kurt:Here’s a mean
question, if you had to choose one of the--shit, what’s the word: mediums?Genres?--which would you go with and why?

Chris:One
medium…while I love prose – especially short stories – I've got to go with
comics. The visual nature is such a hit with me, and writing scripts is a lot
of fun. I think I'd write even more if it wasn't for the expensive cost of
putting together a book. I can write prose novels all I want and it only costs
me my sanity time. But each comic requires pencils/inks, letters, color
and design. I have a high standard and I've been fortunate to work with some
incredible artists who've been a blast to collaborate with. But it also quickly
adds up. Like the prose writing, it's a marathon and I'm in it for the long
haul. I'll keep throwing stuff up until something sticks.

Kurt: What do you get out of writing comics you don’t get
from writing short stories or novels?

Chris: I love the collaborative aspect of comics. It's
inspiring to be co-creating with passionate artists after working
"alone" on prose for years. I've been lucky to have had a fantastic
writing group and friends I've made over the years who I share drafts (short
stories, novels, etc) with, but it's different when co-creating something. I'm
also faster at writing comic scripts – from outlining by issue to breaking down
pages and actually "writing," it often feels like I've accomplished
more than when on the daily grind of trying to reach a word count on a novel. I
go back and forth. After Bouchercon last weekend, all I want to do is get back
to the novel!

And again – as a visual person – it's incredible to see my
scripts come to life. Especially with my creative partners to date – Joe
DellaGatta, Ricardo Lopez Ortiz, Artyom Trakanov – we have great chemistry and
it's amazing to see the number of panels/pages that come out how them pictured
it in my head or that have surprised me with something even better. Also,
regarding short stories and novels - covers are extremely important to me. I
absolutely judge a book by its cover. It sets the tone for my reading
experience. So working on comics is like dealing with my favorite aspects of
books X 1000. It's exciting.

Kurt: You’ve obviously tapped into something “right” based
on the reception your work has received, I know that.Who are the crime writers you’ve gained the
most inspiration from?What is it about
those writers’ works that affects you?

Chris: Megan Abbott's Queenpin is a big influence on my
work. The way her characters move about a world infused with crime and how
their lives are impacted by the decisions they make (or lack thereof). I always
go back to Queenpin for Abbott's subtle use of violence. It's lurking around
the corner on every page, but the way a single act late in the book explodes is
just excellent. I've never read anything else like it.

More recently, William Boyle and Richard Lange have made a
big impression on me. I think both of them can be described as writing
'literary crime' - the more slice of life, characters on the fringe of crime,
how crime influences lives, etc. I see some of these elements in my earlier
work, but reading both Boyle and Lange really focused my attention on these aspects,
revealing what I most desired to write.

Kurt:What are your
plans for Safe Inside the Violence?Will
you be doing readings?Signings?Con/panel appearances?Are these things you enjoy doing?

Chris: Bouchercon (the best!) was this past weekend in
Raleigh, NC. I brought a couple dozen ARCs and left them out for people to pick
up. I think almost all of them were grabbed by readers who are unfamiliar with
my work, which is pretty cool. Overall people are excited for the book, more so
than the previous two novellas. As for readings/signings/events, here's a quick
rundown of those scheduled so far:

I get anxious, but who doesn't? They are fun and I'm happy
to do more (hint, hint).

Kurt: Okay, time for the rapid fire question portion of the
interview.5 questions you probably
won’t get elsewhere, that maybe will let your readers know a little more about
you.Explain your answers, don’t explain
your answers…it’s up to you.Here we
go:

You’re in to a Vegas loan shark for $25,000 and she wants her
money tomorrow.You’ve got $25, a
snub-nosed .38, and no fear.What do you
do?

Chris: Rob another Vegas loan shark on 'her behalf' for
$25,000. Throw it down on black – double up (natch) – pay her off and ride off
into the sunset with my $25k while they take each other out.

Kurt:You’ve been
set-up and are now on the run from the law for a crime you didn’t commit.Figure the unstoppable force of Tommy Lee
Jones in The Fugitive.Before you can
clear your name, you need to go underground.What’s your plan to disappear?

Chris: Shave my beard and steal your identity.

Kurt: What unsolved mystery must you know the answer to
before you die?

Chris: Are there ghosts? Aliens? TELL ME, KURT!

Kurt: Oh no, you’ve got a dead body in your house that
you’ll never be able to explain to the police.How will you dispose of the body?

Chris: Dexter did well with the dumping in the ocean. I'll
follow his lead.

Kurt:Dinner
party!Besides friends and family, you
can invite one rocker, writer, actor/actress, and, considering your genre, one
felon, all living, of course.Who are
you inviting?

Chris: Oh man. Quickly off the top of my head… Colin Meloy,
Denis Johnson, Bruce Willis, and felon…everyone I can think of is a total
scumbag, ha! They can stay put.

Kurt:Nicely
done.And, as always, I’ll give you the
last word.

Chris: Thanks so much for the wonderful interview. I hope
people check out the collection and give it a shot. It's my favorite work to
date – and most personal – so I've got my fingers crossed. Spread the word!

Tuesday, October 20, 2015

In fact, here's the full front and back cover of the arc that's being printed at this very moment!

What I love about this, besides its awesomeness, is how Sourcebooks asked for my input throughout the process. I really think this cover will get people to pick up the book, and the back design and copy will definitely tempt them into buying it. Or stealing it and sending me food from their garden out of guilt. Either one. Thanks to Nicole Komasinski and Marci Senders for all of their amazing work!

Oh, and if you can't read the back copy because the picture didn't magnify, here it is:

When Max receives a mysterious
invite from the untraceable, epic
prank-pulling Chaos Club, he has to ask:
why him? After all, he’s Mr. 2.5 GPA, Mr. No Social Life.
He’s Just Max. And his favorite heist movies have taught him this
situation calls for Rule #4: Be suspicious. But it’s also his one shot to leave Just Max in the dust...
Yeah, not so much. Max and four fellow students—who also received invites—are standing on the newly defaced water tower
when campus security “catches” them. Definitely a setup. And this
time, Max has had enough. It’s time for Rule #7: Always get payback.Ocean’s 11 meets The Breakfast Club in this entertaining, fast-
paced debut filled with pranks and cons that will keep readers on
their toes, never sure who’s pulling the strings or what’s coming next.

Thursday, October 1, 2015

I should be able to reveal the cover in a couple of weeks, but for now, you can pre-order the book from Amazon. Yeah, there's no summary, and it looks like a scam as a result, but I promise it's a real book. No, seriously!

Oh, wait, I just found the back copy of the book right on the Goodreads' site:

Max Cobb is sick of being “Just Max”—the kind of guy whose resume boasts a measly 2.5 GPA and a deep love of heist films. So when an invitation appears in his locker to join the anonymous, untraceable, epic prank-pulling Chaos Club, Max jumps at the opportunity.

Except that the invite is really a setup, and Max, plus the four other misfits who received similar invitations, are apprehended by school security for defacing the water tower. Max has finally had enough. It’s time for payback. Time to unmask Chaos. Let the prank war begin.
Here's the link to the pre-order: